Norma Shearer, with her tremendous presence, successfully made the transition from silent films to talkies. Lucky for us, like others from that incredible film era, she retained the theatrical movements and gripping facial expressions that were necessary to communicate on the silent screen. While not the greatest film in the careers of Norma, Frederic March or Charles Laughton, The Barretts of Wimpole Street, is a favorite because it allows us a glimpse into the real-life love story of poets Elizabeth Barrett Browning and Robert Browning.

Elizabeth Barrett (Norma) is a successful writer who is unable to relish in her achievements as she is confined to her home and the emotional prison that has been built by her overbearing father, Edward (Charles). Upon the death of his wife, Edward turned all attention to Elizabeth, seeing her as his only equal amongst his horde of children including the impetuous, rebellious Henrietta (Maureen). This father-daughter relationship is uncomfortable to witness and if it was remade in the 21 st century the former’s behavior would be tantamount to incestuous actions.

But, everything changes for Elizabeth when the dynamic Robert Browning (Fredric) enters her life. Still a new poet who is often misunderstood, Robert is drawn to Elizabeth through their intimate, written correspondence. Unable to contain himself any longer, Browning visits Elizabeth and professes his love for her. At first reluctant and afraid of what it all means, Elizabeth soon begins to respond to the affections and attention of Robert and this new confidence gives her the strength to resist her father’s will. A brut, sickening in his controlling behavior, Edward attempts drastic measures to try to keep his daughter all to himself.

The Barretts of Wimpole Street is admittedly heavy on the melodrama, but it is also such a beautiful story that demonstrates the unstoppable force that is the power of love.

For Jennifer Jones fans, see the 1957 remake, which is not as powerful, but still offers a nice dose of romantic optimism. Sidney Franklin also directed the remake. Coincidentally, both versions have a husband and wife team tied to them: 1934 - Actress Shearer and Producer Irving Thalberg; 1957 - Actress Jones and Producer David Selznick.